I suppose it was inevitable that in 1992, Francis Ford Coppola’s Bram Stoker’s Dracula (despite its shameless mix of wickedness and pleasure and sketchy casting and outre turns) would tear into history’s canon of Cinema Classics. Gary Oldman’s androgynous, rapacious, aristocratic blood junky was a joy to behold, and Mr. Coppola (always something of a maverick) it seemed, could do no wrong. Like a boulder dropped into a pond, this magnum opus created waves that would influence numerous depictions of the insidious dark prince that are still felt today. On screen and stage elements of this seminal (tee-hee) film have been imported with gusto and impunity.
Which brings us to Theatre 3’s current incarnation: Dracula. Adapted by Michael Federico and Christie Vela, Dracula is a mashup of gender fracturing, plot distillation, ghoulish humor, and Coppola’s masterpiece. It riffs on Stoker’s familiar “legend,” while rethinking Dracula’s identity. It pays special attention to the more colorful characters, and takes Mina in a completely different direction. It’s fair to say this Dracula examines the role of women, with an eye to social justice.
Jonathan Harker travels to Romania, where he’s a guest at Count Dracula’castle. Jonathan’s an attorney who’s there to get contracts signed, sealing Dracula’s ownership of real estate in London. He falls prey to his host’s “appetite” and subsequently, his exotically dressed brides. Meanwhile Renfield (a patient in a madhouse) has inexplicably developed a predatory taste for blood. Mina (Harker’s fiancee) and Lucy are best friends; Dr. Seward is one of Lucy’s suitors and Renfield’s PCP. When the Count arrives in London he quickly seduces Lucy. When her demise is imminent, Seward implores his mentor, Dr. Van Helsing, to intervene.
You might say women dominate this version of Dracula. This is one *spoiler alert* among many: Dracula is played by the formidable, meticulous Allison Pistorius. While transitive gender depiction needn’t amount to passing, the result is a notably fey male. Lucy (Mina’s best friend) refutes the patriarchal admonition that sexually frank women are unseemly. She’s nearly a nymph, or even a demigoddess of playful eroticism. Dr. Van Helsing is also a woman, so avidly butch that Lucy’s cowboy suitor suffers by comparison. She mockbreeds the poor guy. The cisgender men, God bless them, don’t get much credit. Harker, Renfield, Seward, Lucy’s interchangeable suitors, are effete, squeamish, subjugated, or a combination of those traits.
Federico and Vela’s Dracula has a kind of defiance. The script’s intelligent and subversive. They flaunt the enigmatic sexual identity of their notorious count. But these bold choices don’t really get under our skin. Coppola’s Dracula, for all its outrageous hedonism, believes in its content. I’m not sure how seriously we’re supposed to take Vela and Federico’s slant, but perhaps that’s not the point. I think we can all agree (whatever the permutation) Dracula is rich, sinister candy for grownups. And that’s all we need.
Theatre 3 presents Dracula, playing October 3rd-27th, 2019. 2800 Routh Street Suite 168, Dallas, TX 75201. (214) 871-3300. boxoffice@theatre3dallas.com